Arika have been creating events since 2001. The Archive is space to share the documentation of our work, over 600 events from the past 20 years. Browse the archive by event, artists and collections, explore using theme pairs, or use the index for a comprehensive overview.
Ex Ganger guitarist’s solo performance for guitar and fx, featuring breathless processed guitar, complex in structure and melody.
Freak-out group for the 21st century perform a live soundtrack to Ira Cohen’s infamous psychedelic masterpiece ‘The Invasion of Thunderbolt Pagoda’
A guitar solo of frugal wringing, of notes in the dark, an attitude of making everything count.
Long Stringed Instrument performance involving up to 100 wires strung in tension over a 40m arch.
Dr Gabrielle Hodge shares words on Touching the Future, a Protactile project with John Lee Clark, Soline Vennetier, Issy McGrath, Lisa van der Mark, Kyle Bettley and Jordan Goldman, supported by Arika, kickstarting radical DeafBlind Protactile world-building in Glasgow.
Includes: tamed TV snow, video feedback of racing particles, a remake of a polish photogram film destroyed in WWII, a visual and aural representation of Gestalt theory, hole-punched film and Guy Sherwin’s Cycles 3 double-projection.
William cradles, hammers, and rains down blows, plucking and using 2 bows to attack the strings above and below the bridge, all in the service of a fiery and passionate creativity.
Christian Bök‘s work spans thrillingly conceptual poetry to body-shaking vocal performances.
A changing pool of people (40 or so at a time – artists, audiences, etc) talk for 90 minutes in a simultaneous series of open-ended round-table discussions, structured like speed dating, and mixed live as both a concert and for radio broadcast.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
Coffee, Croissants & Massage – a welcoming breakfast for all with massage by qualified massage therapists present to give hand & head massages.
A rare live performance which, although not a full installation, made use of the unique acoustic and spatial properties of the Arches to rattle the audience and help it locate its third ear.
